Live Review: Metronomy at Manchester Academy 28 April 2022

Words: Andy Hughes

It was very appropriate in the middle of a pandemic for Metronomy to open up their recent Manchester date with the delightful pop smash ‘Love Factory‘ – a love song set in a post-apocalyptic world where its inhabitants have all died off. Relevant yet grim subject matter sure, but the lovely pink glow of the lights shine bright on the bodies on stage in glorious fashion, as we catch our first glimpse of the quintet. Towards its end, main man Joseph Mount moves off the microphone and steps to the side, becoming lost in the dark of the side stage.

The last time we saw Metronomy at the Academy, they were coming off the back of their latest release, ‘Metronomy Forever‘. Once again we find ourselves in the venue, celebrating with the band as they put out a new release, the wonderful ‘Small World‘. Though it’s not wall to wall ‘Small World‘ tonight, rather the new record is expertly peppered throughout the set. A mega bass chug and terrace fan sing along kicks off the intro for ‘The Bay‘, a surprisingly early outing for the big hitter from ‘The English Riviera‘, the outfit clearly keen to keep the crowd on their toes. The little “la la la” accompaniments from the rest of the band as Mount sings the refrain that “This isn’t Paris…” are a lovely addition.

A revved up ‘Corinne‘ is another welcome early surprise and we’re cooking with gas now! Bassist Olugbenga Adelekan moonlights as hype man, getting the crowd right into the clap along, bringing an enthusiasm to the performance that doesn’t dip once. Later on, his backing vocals on ‘The Light’ are a heavenly touch. The vocal of drummer Anna Prior is just as heavenly whenever she comes in and similarly, she doesn’t dip all night – later almost swimming a breast-stroke from her stool on ‘Reservoir‘ as she vibes along.

Prior becomes the centrepiece on ‘Everything Goes My Way‘ as the lights shine on just her and Mount takes another step back. She gives a wee salute and a thank you at its end and it’s a silky smooth operation from all involved. This lot have got it down, no question. The drummer is left to it with keys/synth men Oscar Cash and Michael Lovett on the dance-a-thon of ‘Boy Racers‘, as the lights blast and they “OI“, “HEY” and woop to the bouncy, hypnotic instrumental.

They’re very happy to be back in the “greatest city in the known Universe” we’re told, naturally followed by one of our songs of 2021, ‘It’s Good to be Back‘, a fitting nod of the head to Greater Manchester royalty, Messrs Sumner and Marr. As they build into the heart-swelling ‘Things Will Be Fine‘ – sounding so perfect in the live setting, with a bit more oomph behind it – my Girlfriend lets me know she’s off to the loo as it’s “a boring one” and I’m left to figure out how to get out of the mortgage and who gets custody of the dog…

“So how’s it been, Manchester?” Asks Mount, remarking how nice it is being back. “Trust me – I didn’t say that in Liverpool…” He jokes, commenting on rivalries between the two. The stand up routine continues as he asks if Manchester is still the city of the blues (!) Before he gets his head kicked in, he lets us know he does of course mean the 12 bar blues and this leads into a country twanging, yee-hawing nostalgic (even more so!) rendition of ‘Salted Caramel Ice Cream‘. A big rock and roll finish concludes one of their brightest numbers, as it deserves, and the humour of it all showcases what makes Metronomy so charming.

Cousin Oscar Cash is asked by Joe if he did his laundry today and if he’d like to sing about it. Oscar of course takes on this opportunity, suddenly belting it out in an operatic style to Mount and his guitar, who serenades him from one knee. It’s all a great bait and switch that leads into ‘The Look‘ and of course, It’s a big favourite amongst the Manchester crowd. Lovett hops up and does some cymbal tapping as Prior kicks off and the terrace chanting from the crowd begins again.

After a run through of the more subdued ‘The Upsetter‘, it’s all kisses and goodbye waves, but it’s thankfully another swizz and they’re back on imminently for the big dance encore of ‘Old Skool‘ and ‘Love Letters‘, both a total vibe to keep the night alive and the energy right up, the latter a total barrage of disco joy.

The highlight of the night however comes from the wonk-pop triumph of ‘You Could Easily Have Me‘, opener from their 2006 debut ‘Pip Paine (Pay the £5000 You Owe)‘. Mount rips it on the guitar with a gnarly riff as the drums explode and the keys go haywire, elevating an early one into a metal and punk style affair, everyone on stage getting lost in the nuts rendition before punters are hoofed into the street through a side door, not quite knowing what’s just hit them.

‘Small World‘ – Reviewed here!

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Release Rundown – And So I Watch You From Afar, Metronomy and Sea Power

Words: Ben Forrester

And So I Watch You From Afar – Jettison
(Equal Vision)

With 2017’s ‘The Endless Shimmering’, And So I Watch You From Afar put out what I thought was their strongest set to date. For me the album felt like an updated version of their seminal second LP ‘Gangs’, pushing their heavy side into the stratosphere. I expected the next record from ASIWYFA was going to be quite a drastic departure from its predecessor, and ‘Jettison’ sure is that.

Conceived as a multimedia project that the band have been able to perform live a few times now, in its audio form ‘Jettison’ acts as a continual 40 minute suite split into nine movements. From the moment it starts, you’re brought into an entirely different landscape to what you’d expect from your usual ASIWYFA opener; piano, strings, ambient textures and spoken word. The first half of this record is all about the slow burn and though we do get a quick dart off into an off-kilter math groove (‘Lung’) or a sprightly guitar lead (’In Air’), for the most part we ride on a wave of atmospheric soundscapes, orchestral swirls and gradual rhythmic builds.

It’s not until movements six to eight (‘Submerge’, ‘Emerge’ and ‘Jettison’) that things really start to kick off and we get the rock band we all knew was hiding in the wings. Guitar wise, some of the licks soar higher than they ever have before and it’s a pretty euphoric feeling when it really starts to hit. For this to then finish on ‘A.D Poet’, a gorgeously heart wrenching strings arrangement, shows clearly that ASIWYFA want to hit every emotion with maximum impact. Intended as a counterweight to the tense social climate, there is a lot of light and shade within the arrangements here that only enhances the very human connection that consumes it.

Those that get their enjoyment from the more expansive, grandiose dynamics of post-rock will love this. Those that expect the full throttle, riff driven madness of And So I Watch You From Afar material may need to wait it out a bit longer. It’s totally worth the wait though and definitely brings out some classic ASIWYFA moments. ‘Jettison’ manages to continue to do what this band does best whilst pushing their sound into places we’ve not heard before and for this, this is a transcendently triumphant piece.

Metronomy – Small World
(Because Music)

The last time we heard from Metronomy in album form was on 2019’s ‘Metronomy Forever’; a sprawling, ambitious affair that very much felt like an amalgamation of everything we love about the project in its then 20 years of existence. After something that felt so grandiose, I was intrigued to see where Metronomy would go next. My thinking was, if they went big last time, then maybe this time they’d focus in and cut the fat.

My assumptions were correct as they hand in seventh album ‘Small World’, their most concise record to date. Concise not just in its nine track, 30 minute runtime, but also in its musical and lyrical themes. Usually ones to blend electronica, disco, indie and punk, here they gun for a simplistic indie pop sound, honing in on that traditional band-in-the-room feel.

Influentially it’s hard not to hear 80s Indie goliath’s such as The Cure and New Order seep in, especially on ‘Hold Me Tonight’ and ‘It’s Good To Be Back’ respectively. Ultimately, it has a very timeless quality to its songwriting and doesn’t get too flashy with its production or dynamics, just straight up, heart on sleeve pop songs.

On ’Things Will Be Fine’, band leader Joe Mount rewinds to his teens; when decisions and big ideas started to creep in and young adulthood was gently starting to unravel itself. This is a common theme across the record, which he beautifully links to his present life as a husband and father. This is an album that takes stock in the little things and as with most Metronomy songs, love prevails; especially on ‘Love Factory’ and ‘Right on Time’. I’ve always taken solace in Metronomy’s lighter, candid moments, so it’s really cool to see them craft a full album of them here. Shimmering in simplicity, ‘Small World’ is their most succinct and delightful album to date.

Sea Power – Everything Was Forever
(Golden Chariot)

Exploding into the mid 00’s with wonky rock songs, elaborate stage sets and costumes, Sea Power really seemed to be in a league of their own. I’d argue that they’ve very much stayed there too, growing old with grace. With a sound that has flourished into being both lush and anthemic, you can count on Sea Power to deliver with consistency and distinctiveness.

‘Everything Was Forever’ comes five years on from the sparkling synth pop tones of ‘Let The Dancers Inherit The Party’. Having particularly loved the crisp, glittering production of that record, I was hoping for a continuation of the rich, warm textures that swirled across it. If anything, Sea Power go even bigger, with some of their most widescreen material on show.

’Scaring At The Sky’ comes in as a bit of a curveball, opening the record with warming, atmospheric indie folk stylings. It’s a beautiful easing in and definitely throws you off the scent as the next two tracks (‘Transmitter’ and ‘Two Fingers’) come in with stadium sized melodies and euphoric synth lines that feel as if they could move mountains. From there it’s a beautiful mix of psychedelic pop and dreamy indie, with just the right amount of post punk slotted in (the latter sounding particularly energising on the snappy ‘Doppelgänger’).

As always, Sea Power deliver a well balanced pallet of sounds with much elegance – I love, for example, the way ‘Fear Eats The Soul’ elegantly leads into ‘Folly’, a hauntingly beautiful and cinematic piece that manages to move into this electronically infused chamber pop track that still has an ethereal tone, but moves into a new direction. It’s a really well structured record that manages to flow so gracefully, despite its ever moving dynamic changes. In conclusion, ‘Everything Was Forever’ is a bold and beautiful effort that sounds like a band at a comfortable place in their career.

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